As is customary at SPIC MACAY cultural events, the show began in a conversational style, with Bhat ji asking and answering questions about the history of puppets and how puppetry, as an art, came to be part of tradition. He then elucidated the various kinds of puppets (based on the way they're handled), such as String puppets, Glove puppets, Rod puppets, and Shadow puppets, while demonstrating how they are performed.
I had the opportunity to watch Shabdangal in the second edition of Bharat Rang Mahaotsav (2026) while returning from a conference. The train to Roorkee was scheduled to start at night, whereas I reached Delhi in the evening. Hence, to make the most of the time, I booked a ticket to Shabdangal. Based on my previous experience watching a play at the Bahumukh auditorium of NSD, I knew it would delight me to the fullest.
If I say that any drama is more read than performed in India, would you believe it? You don't need to believe me. I would advise taking this exercise. Reflect for a while- How many plays have you read till now? How many plays have you watched in theatres?
Derived from the Greek word 'theatron,' theatre refers to a place of viewing. To understand the structure of such theatre, consider it a room where the fourth wall is removed, allowing the audience to see what happens inside. A proscenium theatre is divided into two sections: the stage (where the actors perform) and the house (where the audience sits). Let's look at the stage first.
Naya Theatre, curated by Habib Tanvir in 1959, aimed to reverse the colonial trajectory of Indian theatre while connecting it to India's culture and tradition. Tanvir is known mainly for two interventions in Indian Theatre. The first was that he introduced local artists in his performance, and the second was that he broke away from the proscenium theatre into diverse spaces. He adopted the folk form Nacha of Chhattisgarh, in which music and songs play a complementary role in the performance.
These elements that promote the Karyavastas are called as Arthaprakritis – the causations. They are five. (1) Bija – Germ, (2) Bindu – Prominent point (3) Pataka – Episode (4) Prakari – sub-story and (5) Karya – denouement.
A scene is like the building blocks of any play. Several scenes are woven together form an act, and several acts are interlaced to form a play. It's like a short-break where the production team change the settings of the stage, such as the placement of props. It's used when the location changes from one place to another.
A dilapidated house-like structure on the stage. Things are littered here and there in the room. A part of the stage consists of a kitchen where a vessel is kept on the stove, covered by a plate.
I have been fascinated by this folk play since I read about it, and I have had the ardent desire to watch its staging. Luckily, I got the chance to watch it while I was pursuing my 'Theatre Appreciation Course' at the National School of Drama (NSD). The year I pursued my course (2025), it … Continue reading Bidesiya: Insights into Bihar’s Folk Theatre
To encourage viewership on stage, I've decided to write honest reviews of whatever play I watch so that it'll be easy for you to plan for a theatrical performance on weekends. Also, I'll suggest everyone at least visit the theatre not to watch a movie but a theatrical play and see the actors in Flesh … Continue reading Engaging Satirical Comedy Play: Tajmahal ka Tender at NSD
Characters (in order of appearance) Aadhya: A 3rd-year research scholar in the English department of a reputed college. Shashank: Junior to Aadhya. A scholar in his first year in the same department. Rahul: Shashank's classmate Sanvi: A 4th-year research scholar. Senior to Aadhya. Naina: A 2nd-year research scholar ACT I Morning scene of the college … Continue reading The Secret Chocolate Giver
Pragmatic's Personas 